State Champ Radio Chart Beat
Page: 13
Trending on Billboard Demi Lovato earns her first No. 1 album on Billboard’s Top Dance Albums chart, as It’s Not That Deep opens at No. 1 on the Nov. 8-dated list. Released Oct. 24 via DLG Recordings/Island/Republic Records, the set debuts with 31,000 equivalent album units earned in the United States in the week ending […]
Trending on Billboard
For the back-to-back Billboard Hot 100 charts this year dated Oct. 25 and Nov. 1, no rap songs appeared in the top 40 — marking the first times since the Feb. 3, 1990 chart that the genre was totally absent from that region. That two-week drought comes to an end this week, thanks to Megan Thee Stallion.
Explore
See latest videos, charts and news
Megan’s new love song “Lover Girl” debuts at No. 38 on the Nov. 8 Hot 100, marking the first rap song (defined by Billboard as a song deemed eligible for ranking on our Hot Rap Songs listing) to reach the chart’s top 40 since Kendrick and SZA’s “Luther” spent its 44th (and to date, final) week on the listing dated Oct. 18. Following that chart, the song fell into recurrent status in the chart, as a result of recently introduced rules updating and speeding up the Hot 100’s recurrent policy.
“Lover Girl” bows with 8.5 million official U.S. streams, 1.5 million in radio airplay audience and 5,000 sold in the week ending Oct. 30, according to Luminate.
Billboard’s reporting last week about the top 40 being rap song-less for the first time in over 35 years set off major waves of discussion within the hip-hop and pop communities about rap’s current place in the popular music ecosystem. Such public figures as rapper-podcaster Joe Budden and producer The Alchemist weighed in with their feelings about the circumstances and meaning behind the temporary absence.
“Lover Girl” marks Megan Thee Stallion’s 21st song to reach the Hot 100’s top 40. Most recently, she visited the region on the chart dated Sept. 21, 2024 with two tracks: her RM team up “Neva Play,” which debuted at No. 36, and “Wanna Be,” with GloRilla, at No. 40 after reaching No. 11. Three of Megan’s songs have topped the chart: the Beyoncé-featuring “Savage” and the Cardi B-led “WAP” in 2020, and her unaccompanied “Hiss” in 2024.
While “Lover Girl” ends the top 40’s rap songs relative dry spell for the week, it might not yet be the start of another years-long streak for rap in the region. As is typical of much-anticipated songs following their second week of release, “Lover Girl” is likely to fall on the next Hot 100 — and there are no rap songs currently behind it on the chart that are zooming in to take its place.
Indeed, the next two highest-charting rap songs on the Hot 100 both fall from their previous week’s position: YoungBoy Never Broke Again’s “Shot Callin” (43-48) and BigXthaPlug’s Ella Langley-featuring “Hell at Night” (50-52). However, below that, Gunna’s Burna Boy-featuring “wgft” does have some forward momentum, rising 59-55, as does Cardi B’s “Safe,” featuring Kehlani, up 57-56 and gaining in airplay after debuting at its No. 26 peak last month.
Trending on Billboard
HUNTR/X remains triumphant as “Golden,” from Netflix’s record-breaking animated movie KPop Demon Hunters, leads the Billboard Global 200 and Billboard Global Excl. U.S. charts for a 14th week each. In July, the song became the first No. 1 on each survey for the act, whose music is voiced by EJAE, Audrey Nuna and REI AMI.
Plus, LE SSERAFIM and j-hope, of BTS, serve up a top 10 debut on both charts with “Spaghetti.”
The Billboard Global 200 and Global Excl. U.S. charts rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.
Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.
“Golden” leads the Global 200 with 120.8 million streams (down 2% week-over-week) and 13,000 sold (down 8%) worldwide in the week ending Oct. 30.
The entire Global 200’s top five holds in place: Taylor Swift’s “The Fate of Ophelia” at No. 2, after two weeks at No. 1 in October; her “Opalite” at No. 3, after hitting No. 2; Alex Warren’s “Ordinary” at No. 4, following 10 weeks on top beginning in May; and Olivia Dean’s “Man I Need” at No. 5, after reaching No. 4.
LE SSERAFIM and j-hope’s “Spaghetti” makes a piping hot start at No. 6 on the Global 200 with 48.4 million streams and 14,000 sold worldwide following its Oct. 24 release. LE SSERAFIM earns its first top 10 on the chart, while j-hope adds his second as a soloist; here’s an updated count of BTS members’ top 10 totals on the chart as soloists: Jung Kook (five); Jimin, JIN (three each); j-hope, V (two each); and Suga (one). BTS boasts 11 top 10s as a group.
“Golden” commands Global Excl. U.S. with 93.3 million streams (down 2%) and 7,000 sold (down 10%) beyond the U.S.
“The Fate of Ophelia” holds at No. 2 on Global Excl. U.S. after two weeks at the summit in October.
“Spaghetti” debuts at No. 3 on Global Excl. U.S. with 42.7 million streams and 9,000 sold. LE SSERAFIM previously hit the top 10 with “Easy” (No. 6 peak) and “Perfect Night” (No. 8), both in 2024. “Spaghetti” is also j-hope’s third top 10 on the chart solo; here’s an updated rundown of BTS members’ top 10 totals on the survey as soloists: Jung Kook (seven); Jimin (five); JIN, V (four each); j-hope (three); and Suga (one). BTS has notched 11 top 10s as a group.
“Ordinary” ascends 5-4 on Global Excl. U.S., after eight weeks at No. 1 starting in May, and “Opalite” drops to No. 5 from its No. 3 high.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated Nov. 8, 2025) will update on Billboard.com tomorrow, Nov. 4. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Trending on Billboard Kehlani’s “Folded” makes its way into the top 10 of the Hot 100, while “Daisies” and Olivia Dean’s “Man I Need” continue to climb. Meanwhile, HUNTR/X’s “Golden” and Taylor Swift’s “The Fate of Ophelia” continue to battle for the No. 1 spot. Tetris Kelly: The battle between “Golden” and Taylor Swift stays […]
Taylor Swift’s “The Fate of Ophelia” notches a fourth week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far. Helping the song’s continued Hot 100 command, Swift released its “Alone in My Tower Acoustic Version” for digital purchase Oct. 28, just after 4:30 p.m. ET, ahead of […]
Trending on Billboard
Taylor Swift’s The Life of a Showgirl spends its first month atop the Billboard 200 chart, as it racks up its fourth straight week at No. 1 (on the chart dated Nov. 8). It earned 146,000 equivalent album units (down 25%) in the United States in the week ending Oct. 30, according to Luminate.
Explore
See latest videos, charts and news
The Life of a Showgirl is only the second album in 2025 to spend its first month at No. 1, following Morgan Wallen’s I’m the Problem (which spent its first eight weeks atop the list, of its total 12 at No. 1). Swift’s own The Tortured Poets Department spent its first 12 weeks at No. 1 in 2024, of its total 17 weeks atop the list.
With The Life of a Showgirl spending a fourth week at No. 1, Swift adds her 90th career week at No. 1 on the chart, extending her record among soloists. Elvis Presley has the second-most among soloists, with 67. The total encompasses her 15 No. 1 albums, the most among soloists. Only The Beatles have more weeks at No. 1 (132) and more No. 1 albums (19) among all artists.
Also in the top 10 of the latest Billboard 200, new releases from Daniel Caesar, Brandi Carlile and Demi Lovato all debut.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new, Nov. 8, 2025-dated chart will be posted in full on Billboard‘s website on Nov. 4. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Life of a Showgirl’s 146,000 equivalent album units earned in the latest tracking week, SEA units comprise 121,000 (down 22%, equaling 157.82 million on-demand official streams of the set’s tracks — it’s No. 1 on Top Streaming Albums for a fourth week), album sales comprise 22,000 (down 41%; it falls 1-3 on Top Album Sales) and TEA units comprise 3,000 (up 411%).
The chart-topping KPop Demon Hunters soundtrack is a non-mover at No. 2 on the latest Billboard 200 (84,000 equivalent album units earned, down 12%), while I’m the Problem is also stationary at No. 3 (76,000, down 8%).
Daniel Caesar collects his first top 10 album as Son of Spergy debuts at No. 4 with 43,000 equivalent album units earned — his best week by units ever. Of that sum, SEA units comprise 26,000 (equaling 34.11 million on-demand official streams of the set’s tracks, marking his best streaming week ever; it debuts at No. 10 on Top Streaming Albums), album sales comprise 17,000 (his best sales week ever; it debuts at No. 4 on Top Album Sales) and TEA units comprise a negligible sum.
Son of Spergy is Caesar’s fourth charted effort on the Billboard 200 in total, and all of them have reached the top 40. Previously, he charted with Never Enough (No. 14 peak in 2023), Case Study 01 (No. 17 in 2019) and Freudian (No. 25 in 2017).
The new album’s first-week sales were aided by its availability across five vinyl variants (including one signed), two CD iterations (one of them signed), alongside a standard digital download album.
Son of Spergy was preceded by three charting entries on Billboard’s Hot R&B Songs chart: “Have a Baby (With Me)” (No. 17 peak in August), “Call On Me” (No. 17 in September) and “Moon” (featuring Bon Iver) (No. 16 in October).
Sabrina Carpenter’s former leader Man’s Best Friend holds at No. 5 on the latest Billboard 200 (42,000 equivalent album units earned, down 3%), while Olivia Dean’s The Art of Loving rises 7-6 (39,000 units, up 5%).
Brandi Carlile captures her fifth top 10 album on the Billboard 200 as Returning to Myself debuts at No. 7 with 35,000 equivalent album units earned. Of that sum, album sales comprise 32,000 (it debuts at No. 1 on Top Album Sales), SEA units comprise 3,000 (equaling 4.31 million on-demand official streams of the album’s tracks) and TEA units comprise a negligible sum.
In total, Returning to Myself is Carlile’s 10th charted effort on the Billboard 200. Of those, five have reached the top 10: Returning to Myself, Who Believes in Angels? (her collaborative album with Elton John; No. 9 in April); By the Way, I Forgive You (No. 5 in 2018), The Firewatcher’s Daughter (No. 9 in 2015) and Bear Creek (No. 10 in 2012).
The new album was preceded by its first radio-promoted single, its title track, which reached No. 12 on the Adult Alternative Airplay chart in October.
Returning to Myself’s first-week sales were bolstered by the set’s availability across five vinyl variants (including one signed edition), two CD iterations (including one signed), a commentary edition of the album at digital retail, and a standard digital download album.
Cardi B’s former No. 1 AM I THE DRAMA? falls 6-8 with 32,000 equivalent album units earned (down 20%).
Demi Lovato scores her 10th top 10 album on the Billboard 200 as It’s Not That Deep debuts at No. 9 with 31,000 equivalent album units earned. Of that sum, album sales comprise 24,000 (it debuts at No. 2 on Top Album Sales), SEA units comprise 7,000 (equaling 9.78 million on-demand official streams of the set’s tracks) and TEA units comprise a negligible sum.
The album was preceded by two of its tracks that reached Billboard’s Hot Dance/Pop Songs chart: “Fast” (No. 8 in August) and “Here All Night” (No. 13 in September).
It’s Not That Deep’s first-week sales were enhanced by its availability across six vinyl variants (including one signed), two CDs (one signed), a cassette, an artist webstore-exclusive download album with three bonus tracks, an iTunes Store-exclusive edition with one bonus track, and a standard digital download album.
Closing out the new top 10 on the latest Billboard 200 is SZA’s former No. 1 SOS, which falls 8-10 with nearly 31,000 equivalent album units earned (down 2%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Trending on Billboard
To open its career on Billboard’s Mainstream Rock Airplay chart, The Pretty Reckless rattled off four No. 1s in a row. Nearly a decade later, the Taylor Momsen-led band has done it again.
Explore
See latest videos, charts and news
“For I Am Death,” The Pretty Reckless’ first new music since its 2021 album Death by Rock and Roll, climbs to No. 1 on the ranking dated Nov. 8. It’s the band’s eighth leader and fourth straight, a streak that dates to 2020, when “Death by Rock and Roll” led for three weeks, followed by reigns for “And So It Went” and “Only Love Can Save Me Now” in 2021.
In 2013, The Pretty Reckless made its maiden appearance on the tally with “Heaven Knows,” a song that ended up reigning for four weeks beginning in March 2014. That kicked off a streak of four consecutive No. 1s, with “Heaven Knows” followed by “Messed Up World” (2014), “Follow Me Down” (2015) and “Take Me Down” (2016).
In fact, 80% of the band’s charted titles have reached No. 1, while 90% have been in the top two. Easy math there, as The Pretty Reckless has charted 10 entries on Mainstream Rock Airplay; its non-No. 1s are the No. 2-peaking “Oh My God” and the band’s only song to peak outside the top two, “Back to the River,” a No. 12 hit, both in 2017.
With eight No. 1s, The Pretty Reckless solely boasts the most by a woman-fronted group (or, for that matter, women soloists) in the Mainstream Rock Airplay chart’s 44-year history. Previously, the band was tied with Halestorm, which notched its seventh in 2024. (Of note: Linkin Park, currently co-led by Emily Armstrong, has 13 No. 1s, but only three since she joined.)
Concurrently, “For I Am Death” ranks at No. 7 on the all-rock-format, audience-based Rock & Alternative Airplay chart with 3.2 million in audience in the week ending Oct. 30, up 12%, according to Luminate. That’s a new weekly high in impressions for the song, although its chart-position best so far remains No. 5, achieved on the Nov. 1 tally. It’s The Pretty Reckless’ top-performing song on the survey, surpassing a pair of No. 6 peaks via “Death by Rock and Roll” and “Only Love Can Save Me Now.”
On the most recently published, multimetric Hot Hard Rock Songs chart (dated Nov. 1, reflecting data Oct. 17-23), “For I Am Death” debuted at No. 23. In addition to its radio airplay, the tune drew 240,000 official U.S. streams.
Although The Pretty Reckless hasn’t yet announced a proper follow-up to 2021’s Death by Rock and Roll, Oct. 31 brings the release of a new holiday EP, Taylor Momsen’s Pretty Reckless Christmas, with Momsen reprising her vocal on “Where Are You Christmas?” from the 2000 film How the Grinch Stole Christmas, in which she portrayed Cindy Lou Who. The Mariah Carey co-write has become a perennial holiday hit for Faith Hill since 2000.
All Billboard charts dated Nov. 8 will update Tuesday, Nov. 4, on Billboard.com.
Trending on Billboard
Riley Green and featured artist Ella Langley enter the top 10 on Billboard’s Country Airplay chart dated Nov. 8 with “Don’t Mind If I Do.” The collaboration climbs 12-10, up 20% to 17.8 million in audience Oct. 24-30, according to Luminate. It’s Green’s seventh visit to the tier and Langley’s third — and their second as a tandem, after Langley’s “You Look Like You Love Me,” featuring Green, led for one week last December.
Langley and Green make for the first pair of soloists with multiple shared Country Airplay top 10s in five years: In 2020, Blake Shelton and Gwen Stefani teamed up for two No. 1s: “Nobody But You” that May, and “Happy Anywhere” that December.
Elsewhere, Langley’s current solo chart entry, “Choosin’ Texas,” bounds 59-41 (2.5 million, up 203%).
Megan 2.0
Megan Moroney continues her career ascent with two tracks due on her upcoming third studio album. Ballad “Beautiful Things,” released Oct. 24, debuts at No. 37 on Country Airplay (3.7 million), marking her highest entrance on her own; overall, she has started at a No. 23 best with “You Had to Be There” with Kenny Chesney in May.
Plus, Moroney’s fellow current single, “6 Months Later,” rises 14-12 on Country Airplay (15.9 million, up 20%).
Shaboozey ‘News’
Also notably, Shaboozey’s “Good News” departs Country Airplay following a standout stretch, including two weeks at No. 1 in September. He has logged 49 total weeks in the top 10, the fourth-most of any artist since his crossover breakout, “A Bar Song (Tipsy)” reached the region and became a juggernaut — it holds the all-time record for the most weeks in the top 10 (33), seven of those at No. 1.
Additionally, the singer-songwriter’s latest single, “Amen” with Jelly Roll, surges 37-29 on Country Airplay (5.3 million, up 55%). For an artist who entered as an outlier, Shaboozey has quickly become a fixture.
Trending on Billboard
While many Billboard radio airplay stories focus, rightly enough, on which artists and songs are topping the charts, this week’s Adult R&B Airplay survey (dated Nov. 1) contains a potentially historic development at the anchor spot, No. 30, thanks to Xania Monet’s “How Was I Supposed to Know?”
What’s the difference between that song and the other 103 titles that have made the chart this year alone? Xania Monet (first name pronounced “zha-NI-ah,” rhyming with Shania, as in Shania Twain) is an AI-driven artist, the product of a poet named Telisha Jones, and her song’s chart arrival marks the first known instance of an AI-based act to earn a spot on a Billboard radio chart. The move also represents another step in the evolving relationship between AI tools and creators and the music industry.
“How Was I Supposed to Know?” begins on the Adult R&B Airplay chart through its plays at panel-contributing adult R&B radio stations in the United States. It improved 28% in plays for the tracking week of Oct. 17-23 compared to its Oct. 10-16 total, according to Luminate. In that window, 15 of the chart-contributing adult R&B radio stations played the song, according to Mediabase, among 57 total reporters.
The song first generated public attention as a viral track on TikTok and other social media platforms. Social growth extended to streaming services and digital retailers, prompting the song’s No. 1 debut on the R&B Digital Song Sales chart dated Sept. 20 and a No. 20 start on the multimetric Hot R&B Songs chart a week later. As awareness spread, the song and its creator ignited a discourse of both supportive and opposing perspectives, with SZA and Kehlani among the most prominent opponents.
Billboard reached out to several stations’ programming and music directors to seek comment on the song, artist and surrounding industry discussions, but none replied to our inquiries.
[embedded content]
For a creative situation only possible thanks to futuristic technology, a focus on radio promotion may seem an old-school approach. The team surrounding Monet, however, views it as a no-brainer. “We look at everything as a complete package,” says Romel Murphy, who manages Monet. “If you had a, let’s say, traditional, artist and were a label and marketing executive, radio would be a piece of the promotion strategy. We’re interested in bringing the music to as many people as possible.” To that end, Murphy says a full radio push is part of the equation. “Our goal is to continue to grow, continue to connect and hopefully get to No. 1.”
While Monet has generated the bulk of discussion, she isn’t the only AI-driven act making an impact on Billboard’s charts. The Emerging Artists chart has become a home for these budding acts, with several landing on various rankings the last few weeks.
Now, those concrete examples indicate the growing likelihood of AI-driven artists as a major industry transformation.
Still, Murphy asks observers to assess from a music-first perspective. “Be it a radio programming director, be it a music fan, be it our peers, colleagues, artists,” he says, “just listen to the songs. Listen to the lyrics. And then make your judgment.”
Trending on Billboard “Golden” from KPop Demon Hunters is back on top of the U.K. Singles Chart on Friday (Oct. 31), and brings Taylor Swift’s No. 1 run with “The Fate of Ophelia” to a close after three weeks. Explore See latest videos, charts and news The song, taken from the Netflix smash film, is […]
